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Silvertone Records has done a smart job of resurrecting Buddy Guy's career. When the label signed the Chicago blues guitar master in 1990, the 54-year-old legend hadn't had an American release in nine years. Silvertone introduced him to a new audience by having him play duets with such rock-star admirers as Eric Clapton, Mark Knopfler, and Jeff Beck on the 1991 album, Damn Right, I've Got the Blues. In 1996 the label unleashed the hardcore Buddy Guy stretching out on vintage blues numbers in a live setting on Live! The Real Deal. The payoff is not only a terrific blues album but also an album built on the kind of financial foundation that will insure many more to come. --Geoffrey Himes ... Read more

Reviews (15)

Very good. Almost great
Buddy Guy is accompanied by the Saturday Night Live house orchestra on this album, which may only include nine songs, but still clocks in at well over an hour.

Guy's playing is strong and focused almost all the way through, and he gets superb backing from former Chuck Berry-pianist Johnnie Johnson, whose solo on the T-Bone Walker-like "I've Got News For You" is one of several instrumental highlights. Guy plays rhythm and lead guitar equally well (some blues guitarists, like B.B. King, literally can't play a chord), his voice is still powerful in spite of his advancing years, and he plays excellent renditions of "I've Got My Eyes On You", "Damn Right I've Got The Blues", "Let Me Love You Baby", and the Elmore James-single "Talk To Me Baby" in particular.

"Live - The Real Deal" may not be perfect (Guy's slightly erratic vocals are sometimes too low, something which should have been corrected in the mix), but it does show what an excellent guitar player that Buddy Guy is. It also features some of his best songs in good or even great live renditions, and if you're a fan of Chicago blues, you'll probably enjoy this album. If you're a fan of Buddy Guy you're almost sure to.

BUDDY BRINGS BACK THE BLUES
This is a good live album because Buddy Guy for once in concert is playing Buddy Guy, not imitating other guitar players which he annoyingly loves to do. It is also the most traditional blues sound he's done in about 20 years, not counting the duo cd's with Junior Wells. The Saturday Night Live Band keeps right in step on all 9 tracks with some good driving rhythum. There are some roof raising slow numbers like "Sweet Black Angel" and "My Time After Awhile" where you really hear Buddy actually playing the blues like the old days at Chess.

buddy Guy takes the SNL band to blues school
this is an interesting album. I have been a Buddy Guy fan for a long long time and I've seen him live on a few occasions. While I like the sound of the album and it does have some great moments I just don't get the whole SNL band thing. While great technical musicians they just don't know the blues and it is glaringly obvious when one of them attempts a solo. G.E. Smith's weak excuse for a call and response section with Buddy during, "Damn Right I've Got the Blues" sounds like my cat when she is wining about being hungry. Buddy will throw out some amazing guitar line and smith will answer with something that a ten-year-old would play while learning how to bend the strings. Pathetic! the only other soloist who keeps up with Buddy on this album is the amazing Johnny Johnson on piano. the man is just a legend and he does show it here. This album seems to be another attempt to make Buddy palatable to the casual blues fan, (The ones who think Keb' Mo' is a blues artist), in an attempt to widen his audience and from a financial standpoint I can't blame him or his record company. Ih short, if you are a true Buddy Guy fan you'll find this album to sound pretty waterd down so I wouldn't rush out and buy it. If you are someone who is interested in learning about the blues and have heard about Buddy Guy then I would recommend buying this album simply because Buddy's playing is normally very intense and it may scare off someone who is not familiar with his style so start with this one and then build into the real good stuff.

The best!
Buddy Guy's recent (Silvertone) studio albums range from ok to very good, but none really capture Buddy at his best--in concert. Nobody puts on a better show, and this album comes very close to taking you there. I have seen Buddy twice in concert and, while he does use a different band here, I believe this album really captures the spirit, passion and virtuosity of the best blues musician in the world. Fast tunes, slow tunes, quiet, loud--it's all here, and it's all brilliant.

Some of the earlier reviewers seem distressed that Buddy is teaming up here with the SNL band, rather than playing with his usual smaller group. Well, so what? They bring out a new side in him, and complement him very well. And, they are tremendous musicians. I really enjoyed listening to piano, organ, and sax solos, in addition to Buddy's fantastic guitar work. Everyone obviously had a great time, and they made some truly inspiring music.

Astonishing,historical performance of a genius!!
This is an historical album.A rare opportunity to hear the magical guitar of this great bluesman at his own home the Legend's.Here we have a Buddy Guy with intense,gutural,sensuous voice,a testimony of a genius,that plays like no other,with heartfeelings,and sustained by a great band.This is a cd for those bluesfans,those Buddy's fans!!! ... Read more

Amazon.com essential recording

On this 1974 recording, Taj Mahal ventures beyond blues and soul to explore the Caribbean side of his heritage. He sings in Spanish on "Why Did You Have to Desert Me?", translates the Anglo folk song "Blackjack Davey" to reggae, and covers the Slickers ("Johnny Too Bad") and Bob Marley ("Slave Driver"). His smoked-glass voice evokes a stormy swamp on "Cajun Waltz" and a sunny island on "Clara (St. Kitts Woman)." Rather than mimicking Third World styles, Mahal incorporates them into his own folk and blues-based aesthetic, while humorously nodding back to Otis Redding again on "Big Mama." --Rick Mitchell ... Read more

Reviews (2)

One of my top ten favorite abums ever!
I've got "Dancin the Blues" and "Like Never Before" but I still keep coming back to this album. This album sets me free. I play it constantly and I got it in the seventies. I think Taj is the coolest guy on the planet. Cajun Waltz makes me grab my wife and dance her around the room. His musical sense and timing I can't begin to describe. All the songs are very unique and unlike anything I've ever heard. Give this one a shot. I've never turned anyone on to this album that didn't love it.

A great classic from the 70's
I saw Taj twice in the 1970's, what a treat! His music still holds up so well. I'd highly recommend this to any one who enjoys great music done by a naturally gifted musician. ... Read more

Amazon.com

Discriminating fans of roots music in southern New England have known it for years. At long last, the rest of the world is catching on to the fact that guitarist Paul Rishell and harmonica player Annie Raines are among the most earnest and entertaining blues artists active today. Ending a two-year hiatus from the studio with this fourth collaborative album, the pair gives ample proof of their gift for granting new life to old neglected blues and gospel numbers--with a band or without. Deep feeling combines with stellar musicianship on pre-World War II classics like Sonny Terry's risqué "Custard Pie" and Leroy Carr's "Memphis Town," while the two tradition-bound originals hold up as well. There's a new depth to Rishell's vocals here and Raines adds creditable singing and mandolin playing as this talented duo continues to surprise. --Frank-John Hadley ... Read more

Amazon.com

Originally recorded in 1971 and composed during a time of intense creativity, anguish, and physical and mental exhaustion, Eric Andersen's ode to despair and cry for renewal is widely acknowledged to be his masterpiece. Along with Bob Dylan's Blood on the Tracks and Joni Mitchell's Blue, it is a defining moment for the singer/songwriter genre. Andersen delivers these nine country- and gospel-flavored songs as if in a trance; a fragile and flowing analog warmth threads them together. All the airy, spacious lyricism of Norbert Putnam's delicate production is now before the listener, and the musical experience, even for those who know the album well, will be a revelation. The smallest details--Grady Martin's gut-string guitar on "Faithful," Weldon Myrick's steel guitar and Joni Mitchell's intricately phrased harmony on "Blue River," and Farell Morris's barely audible but finely textured vibes on "Florentine"--arise as if for the first time. Columbia has also unearthed two unreleased tracks--a soulful reinterpretation of the early ballad "Come to My Bedside" and a Cajun vamp-up of Hank Williams's "Why Don't You Love Me Like You Used to Do?" If it's a crime that an album this moving ever went out of print, it's also a triumph that it has returned meticulously remastered and elegantly annotated and presented. --Roy Kasten ... Read more

Reviews (10)

Lyrical and haunting
This album first came out in '71. I was ten, and I remembered it when I finally found Eric Andersen on Amazon again. This is his best CD. The music stays true in mood, with one slightly jarring transition, but overall it's one of those CDs you can listen to straight through without skipping the junk tracks. Some of these songs will stick with you, such as "Blue River." The genre is one I think of as "60s blues," and sounds folksy without the preaching about peace and love and all that 60s stuff. The tracks are all of the "unplugged" type. The only artists I compare him to is perhaps Dan Fogelberg or Michael Parks from the "Then Came Bronson" show. This Anderson CD is a lot like Fogelberg's "Nether Lands," or Michael Parks' :Long Lonesome Highway," if that's helpful.

Quite Simply, One of Eric Andersen's Masterpieces!
This classic album was the early culmination of Andersen's rise to prominence in the sixties with its thoughtful, poignant, and philosophic look both within Andersen himself and in the world as he saw it during a period of personal difficulty and inner turmoil.Eric Andersen is nothing if not a consummate writer, performer, and interpreter of classic folk melodies and subjects, and he delivers on his considerable promise. Certainly both earlier and later professional efforts by Andersen indicate just how talented and durable his abilities as a writer and performer he is. Here he is in superb form, with original songs ranging from the opening stunner "Is It Really Love At All" to "Wind And Sand" to other wistful interpretations like "Florentine" and the very wry "Faithful", which Linda Ronstadt did a terrific cover version of years later. My personal favorites here are ""Blue River", a haunting and evocative song about life simply led, and "More Often Than Not", an unusual (to say the least) take on life as a road-traveling performer. One often hears albums described as a collection of songs, but this is truly a song cycle that has a special mood, atmosphere, and timbre of its own. This is a special album by a monumental talent who has never gotten the wide acclaim and popular recognition his unusually gifted abilities seem to deserve. Buy this CD and I guarantee you will soon find yourself referring to it reverently, as most "folkies" do.

It took a while....
I bought "Blue River" on vinyl in my early 20s, and I have to confess, I didn't care for it much back then. I knew that something important--maybe even vital--was going on in those grooves, but I just didn't "get it." A couple of decades later, I went back to that old vinyl and listened again with different ears and 20 more years in the rear-view mirror. It blew me away; I was moved to tears by the joy I felt on finally "getting it" as well as the sadness I felt for the years I had lost without this music in my life.
Folks...uh, folkies...learn from my mistake! Don't waste another day without this music. It will change the way you look at your world.

Nostalgia reaching back almost 40 years
I first attended an Eric Anderson concert at the urging of my then girl friend in 1966. Over those early years I probably saw him perform a half dozen times, once an a Cambridge coffee house sitting next to Janis Ian, and the last time in San Francisco about 20 years ago, when he was unexpectedly (at least for me) joined by his ex-wife Debbie Green on the piano. There are individual song favorites scattered across all of his albums, but this is the one I played for my children as something from my past and my present. It is one of the most hauntingly beautiful albums I own. Share it with someone you love.

A Masterpiece
This is one of my all-time favorites. "Is it Really Love at All" alone is worth the price. However, the more I listen to it, "More Often Than Not" emerges as my favorite. If you didn't know that Anderson was singing, you'd swear it was Rick Nelson. Stop reading these reviews and just go out and buy it. ... Read more

Amazon.com

Singer Toni Price's two major influences, Nashville and Bonnie Raitt, are more than audible on her fourth album, Lowdown and Up. While Price's voice is also reminiscent of the same vocalists who influenced Raitt, there's little doubt as to where her original inspiration came from. Price mixes her blues with country and folk, a blend that will appeal to some and disenchant others. For those who like it, there's plenty here to like: a strong, but never overwhelming vocal style, and an expressive range that runs from seductive ("Comes Love") to upbeat ("Loserville Blues") to gentle ("Anything"). Price, who moved from Nashville to Austin in 1989, has incorporated a definite Texan flavor into her sound, and she's one of many artists who could rise to prominence as the Austin music scene continues to draw national attention. --Genevieve Williams ... Read more

Reviews (9)

my favorite Toni disc
I read these reviews to get comparative data on which disc to buy if I own few or none of an artist's work. So, from that perspective, I am writing to rate this disc as Toni's best, and that's saying alot because she is one of the most consistent artists around. All the others are tied for second with the exception of "Hey" which is my least favorite. "Comes Love" and "Red River" are particular stand outs. Also for new Toni Fans, Her voice has weathered beautifully over the years. On her first disc "Swim Away" she has a richer, fuller, young blues belter voice, and on her most recent "Born to be Blue" she sounds more like a cross between early Bonnie Raitt and Billie Holiday with a little Sue Foley thrown in. Maybe that's why I like "Low Down", it's right in the middle.

Winnerville
Toni Price sings so well on this 1999 set and makes it seem so effortless that this is a disc to which one can repeatedly return. The opener "Walk Out the Front Door" is a driving country rocker with Larry Fulcher on bass and Frosty Smith on drums combining for a great pulsing track. Toni's is the fourth version of "Comes Love" in my collection, joining Joni Mitchell, Dan Hicks and new jazz sensation Peter Cincotti. Toni's take is positively mournful with Johnny Gimble's fiddle wailing plaintively. Gwil Owen's "Anything" is lovely ballad with a beautiful melody; Toni's understated vocals grace the arrangement. "Loserville Blues" is a fast Texas swing boogie woogie that Toni's excellent performance transforms into "Winnerville." "Feel Like Cryin'" rocks out while the title track bounces along like Leon Redbone coming awake. "Wishing Well" is another lovely track that is a great song. The CD concludes with the moody "Why Is Love Like That?" Toni's set here is filled with blockbuster performances and great tunes. U snoozes U loses! Enjoy!

Great Find!
I don't listen to this kind of music any more, but heard the "Foolin' 'round" cut on our local NPR station and couldn't get it out of my head. After purchasing the disk, it's now one of my desert island goodies.

Blues, Jazz and beyond...
I don't get the comparisons to Bonnie Raitt, really. Toni has her own voice. Thing is, her voice changes radically, from song to song. Sometimes she sounds a little like Sue Foley (on "Out The Front Door" which Bonnie did first), sometimes Ricki Lee Jones ("Remember Me?"), and yeah, I guess at times she gets some of the Bonnie vibe going ("Rusty Old Red River"). But this woman changes from song to song. The more you listen, the more you learn. I really love "Foolin' Round" (mid-tempo jazz) and "Don't You Think I Feel It Too?" (performed as a folksy waltz). Thank the stars for recorded music: Toni does not travel around much. But we can enjoy her music and I want more SOON!

Worked Completely
Listened to Toni Price and her proffessional crew on Austin City Limits which prompted me to run out and buy this Album. The mix and content of the songs were well chosen and extremely well done by all involved. I have listened to the album several times and find myself replaying some of the selections mentally while I am involved in some task or activity.

I have to admit that her interview also sold me as shown on Austin City Limits. She reminds me of a Gal that would sit down and tell you like it is. That seems to be her style of singing as well. A very gifted lady singing and capturing the theme and intent of each song. Don't think I would enjoy one of her down moods. But would love the down to earth attitude. Glad she is now part of my CD collection. ... Read more

Reviews (1)

A true delight!
Alex Schultz's first solo album is really a true delight. How wonderful, and how wonderfully played by all the musicians involved! After more than 20 years spent playing the blues finally his first solo recording and the final result couldn't be any better than this. His guitar playing is just fantastic throughout the entire CD and, I have to say, it left me speechless since the first listening. With three great vocalists involved in the project (Finis Tasby, Lynwood Slim and Tad Robinson) and a fantastic band supporting him, Alex explores different shadows of blues always with great taste and feeling. If you like West Coast blues, swinging blues and slow ones this is the CD for you just pick it up and you will not be disappointed. Great stuff from start to finish, one of my favourite purchases so far in 2005. ... Read more

Reviews (5)

Ry Cooder at his unconventional best
To listen to this is not to get a feel of what Ry is mainly about. He would probably vouch for that. If however, you regarded this a a delve into the uncharted, then the result is an aural feast. The title track sets the mood for the rest of the album. Johnny Cash would be proud that this cover was done very well and in a style which is simply Ry. The outstanding track however is the 13 Question Method. Again, Ry gives a new lease of life to a mediocre song, this time by Chuck Berry. The characteristics and jokey slide technique which Ry employs is amazing. To appreciate slide really well, you need to listen to this album and particularly track 4.

Terrific, But Completely Uncharacteristic For Ry
Ry Cooder was originally best known for his Delta blues & Dust Bowl balladry, later better known for his movie soundtracks & exploration of ethnic music from Cuba, Africa & India. This one is none of the above. It is the closest Ry came to straight-ahead blues-based rock & roll. There are a few resurrected obscurities to be sure, but this shows the side of Ry that is probably the closest to his years as a Rolling Stones sideman.

Fans of Ry's more acoustic offerings should like this as well, so long as they are open to his electric, louder side. It sounds little like Boomer's Story or other early works, but the songs & performances are up to the quality from his classic era. Basically, much of this CD is rent-party stompers. The covers of Get Rhythm and All Shook Up are a hoot.

not his best
I LOVE Ry Cooder's music (I'm naming my soon-to-be -born son Ryland in his honor), but he's done better than this one. Check out Paradise and Lunch, or Borderline, or Chicken Skin Music, or Into The Purple Valley, or...

Cooder at his best.
Ry pulls out all the stops on this one. Funky, sinister, and charming. His slide guitar and earthy vocals in tip top shape throughout this recording. Gotta put a BIG smile on your face!

One of the greatest album in the world in 80's
Every Japanese was danced with his Okinawa music. There is no doubt this is the one of the best of his. After this album,Ry cooder has released some great world wide music albums. Flaco Jimenez and Steve Douglas were playing together on the Japan tour. I was amazed! ... Read more

Amazon.com essential recording

This 1996 album picks up where Dancing the Blues left off three years earlier, with producer John Porter and most of the same studio cast. There's more of a New Orleans flavor this time, with barrelhouse pianist Jon Cleary contributing a couple of originals to go with such classics as Jesse Hill's "Ooh Poo Pah Doo" and Fats Domino's "Let the Four Winds Blow." Bonnie Raitt and a full vocal chorus help kick "I Need Your Loving" into overdrive. Mahal's one original is the tender, acoustic country-sounding "Lovin' in My Baby's Eyes." --Rick Mitchell ... Read more

Reviews (8)

Upbeat Blues from on of the Best
From the opning notes this album is great. I've been listening to it for 6+ years and it never bores me. Upbeat tracks, good horns and great guests (Clapton & Raitt) I think this is an essential Taj pick.

...bruh taj be puttin the rhythm to some blues!...
i'm not a big fan of most contemporary blues singers, prefering that stuff they got goin' on in the mississip; pr'oly at best a 3anahalf-star rating, but seriously, Taj got that deep-from-some-gutter type sputter/growl goin' on and when he sings them love songs of his, it's some real hot stuff. "here in the dark", "fanning the flames" and "love her with a feeling" are THE MOST SENSUALLY HOT BALLADS FROM ANY MALE ARTIST OUT THERE, R-N-B OR OTHERWISE! neo-soul cant e'en come close to the dirt and desire in those cuts! this is the artist that D'angelo will be inspired by 10 years from now.

Great New Orleans experience!!!
This is a great album,specially enriched with the marvellous participation of Jon Cleary,for me,one of the best piano players of ever.Really a participation of any Louisiana's piano player is a great thing for a good blues album!!!Specially some musicians like Jon Cleary,Dr.John,and Professor Longhair... This is a very true experience of this great bluesman,Taj Mahal,with guest appearances of Eric Clapton and Bonnie Raitt.I really loved the first track,an original of Taj's style.All of the others are pure Louisiana blues,and i really recomend to the bluesfans all over the world to listen this fantastic, Jon Cleary. He's a bluesman unrecognized,that deserves an accurated listened from those that really loves good music.You must try to listen the other Cleary's works such "Alligator Lips and Dirty Rice" and recently "Moonburn".What we can say is that Taj worked right to choose those great musicians and the results, are all inside this great cd!!!

Taj is back big time!
My 3 favorite Taj Mahal albums so far had been his first two (both released in the 60's) and "Dancing the Blues." I now have a 4th! Get down!

Good dancing, good vibes! We play it almost every day!
Taj Mahal's voice is like the sound of the Earth singing. He is authentic, soulful and grounded in the culture of folk and blues. He is a national treasure! ... Read more

Reviews (5)

Great Stuff Here
From the heartfelt Crossing and Come on in my Kitchen to Big Leg Mama, this album traverses alot of emotions and really packs a great blues punch. I have enjoyed this album alot and it is a great live recording, definitely worth your purchase. Taj mahal is an extremely versatile and talented artist and this live recording strongly reflects both of those characteristics.

Puts You In The Mood
At first listen, the guitar can be a little annoying, but once you get into the mood of the CD, it's phenomenal. I've never seen Taj, but would love too, this CD is why. I find one of the most enjoyable ways to listen to is on a clear night with your window open while you drift off to sleep. At the point the songs take an aural quality that is hard to desrcibe--just great though!

Well, Semi Acoustic, Anyway...
The "Acoustic" in the title is a bit of a misnomer. Taj plays an electric piano on a couple of cuts (which is fine) and his guitar sounds like it's miked through an amp with the "chorus" effect turned up to 11 (which I could have done without).

Some reviewers have panned the songs where he's accompanied by Howard Johnson (not the hotel guy) on tuba, calling them "sloppy", however, in my opinion, these are the highlight of the CD. In particular, "Cake Walk Into Town" stands out- This is a song that should be prescribed for people that are chronically depressed, as it never fails to put a smile on my face.

The CD lags a bit on "Ain't Gwine Whistle Dixie Anymo" (live or in the studio, this is a song that is always an endurance test to me to see if I can get through it) and the part where he coaches the audience on clapping in time, which I've never heard any audience do. This is one of those things that are much more fun in person that hearing on a CD, and could have been left off.

I also urge all fans of Taj and Ry Cooder to check out Austin, TX group "Bad Livers", especially "Hogs on the Highway" - Banjo & Tuba at it's finest!

Taj Mahal, singing solo is dynamite!
"An Evening of Acoustic Music" is reminescent of "A Giant Step" from the late 60's. If you loved that album (as I did) you'll probably enjoy this one too. As the Dirty Linen review points out, the cuts with Howard Johnson playing tuba are weaker than those where Taj flies solo; "Big Kneed Gal," especially, is sloppy. Despite that, the CD, as a whole, makes you feel really good. And a large part of its charm is that it hasn't been cleaned up too much in a studio. This is not a slick recording--it has a very direct, authentic quality, a kind of immediacy rare in the music world today. Its definitely not background music. Because its easy to listen to, you'll put it on while you're doing something else--only to find you're no longer doing anything but listening. Taj Mahal is just so charistmatic here he engages all of your attention.

Acoustic magic
This one's not BRAND new, but very recent & apparently only being discovered by a wide audience. LIVE Taj is a phenomena to be witnessed - ask anybody that's been on one of the Blues Cruises with him. Its tough to gauge his disks at first glance, because some contain different versions of the same songs. In his case, they're all good. This one's an acoustic gem. He does his interpretation of a Langston Hughes poem & teaches a German audience how to keep blues time. I won't waste your time with anything but something I can RAVE about. An original that exudes BLUES. One of my favorites & I have a LOT of blues disks. ... Read more

Album Description

Aussie reissue combines two of the Texas musicinstitution's out-of-print albums, 'The Jealous Kind'(1980) & 'Plain' from the Heart' (1981), together on oneCD. Includes three bonus tracks, 'As Long As I Got You','Hold On To Your Hiney' & 'In The Jailhouse Now'. Standardjewel case. ... Read more

Reviews (1)

Delbert's Best
Excellent compilation featuring full versions of McClinton's two best albums, THE JEALOUS KIND (1980) and PLAIN' FROM THE HEART (1981). Bonnie Bramlett's backing vocals on the Jealous Kind cuts are great; it's too bad she and Delbert didn't record more often together. Nice addition: Three bonus tracks from LOVE RUSTLER.

...

These recordings do capture Delbert McClinton in his prime. ... Read more

Reviews (9)

Great early release
Very bluesy - slower than his later releases. Hopefully he will come back to this style as he matures and after he's done experimenting with other sounds.

Better than a poke in the eye with a sharp stick
This is not Jonny Lang at his best -- his best is probably mostly available when you see him in person. At very nearly his best on his album Lie to Me, Jonny is backed by absolutely masterful musicians while playing fantastic arrangements.
That said, this album of Jonny in his younger days is still better than most of what is coming onto the market these days. Smokin' is enjoyable listening, if nothing else. If you're like me, you'll be happy just to have some new tunes to listen to. If Jonny continues to improve and mature as a blues artist, as I expect he will, anyone who buys this album will be glad to have a piece of his history in the making.

Review for "a music fan from Lafayette IN".
Lang is not from Minnesota. He is from some Dakota or another. His father brought him up to be a "Hit". He has been groomed since he was 10. If you think he is an old "Blues Master", then you have bought into the Blues revival hype. He has some great sounds. My point was that he is not a Buddy Guy that did not know where his next meal was coming from. People like
Buddy Guy starved on the street. He came to Chicago with nouthing but him. He gave licks to Hendrix. If you like canned music like his you would really enjoy the "Monkeys". Same effect same choice of musical hype. My review was meant to say that he "is not a blues person". He was "schooled" to sound like he does. If you want to hear blues... listen to Muddy Waters, ect. If you want a trained person to emulate blues, listen to him. At least I posted my name..."Music Fan" is pretty generic and hidden. Are you to worried and paronoid to post your real name?

For Ken deLanguillette
This is a re-issue of Lang's first CD issued on an independent label. So, it is true that this is a high school kid playing the blues, because that's exactly what it is. Judge this CD in its original context - an unknown blues talent cuts his first CD on an indie label that gets noticed by the big labels. This is not where Jonny is at today.

A Great Blues Talent
This is my favorite Jonny Lang CD. I enjoy the down-home bluesy feel to the songs. "Loise" and "Nice & Warm" are my absolute favorite songs. If you are a fan of the blues, or a fan of Jonny's, this is a MUST purchase for you! You won't be disappointed. ... Read more

Reviews (1)

Incredible album from an Incredible Singer
Containing the hit duet with Willie Nelson ("After The Fire is Gone"), this early 70s Atlantic Records solo outing from the Mother Earth lead singer is a stone classic. Also features harmony vocals by Linda Ronstadt and a guest appearance by New Orleans legend Allen Toussaint...This album, which was previously only available as a high priced Japanese import, is now available for the first time on U.S. CD. Original artwork and extensive liner notes featuring an interview with Tracy Nelson. Cool stuff!!! ... Read more

Reviews (3)

True American Music
Alvin Youngblood Hart is a man who has soaked up the essence of American Folk Music in its variety of forms. He has recorded its essence and recreated it for modern ears in Big Mama's Door. Although primarily drawing from the Mississippi Delta, country & western, Appalachian and modern psychedelic influences can be heard.

Hart is a gifted song writer, who has a feel for both lyrics and melody. I am particularly fond of the title song and Joe Friday.

Both his voice and guitar playing are pleasant to listen to. While the CD is excellent, Hart is also a dynamic performer and can best be appreciated live.

Phenomenal Blues Tradition
I haven't even heard the cd version, only the cassette, once. It immediately struck a nerve as something I'd long been searching for, a modern blues album that you could mistake for one from the twenties or thirties. Hart's virtuoisity recalls that of Son House or Robert Johnson. What really impressed me was the recording style. Recorded raw on 2 tracks instead of polishing the sound with lots of layering. Add it to your collection now!

HE COULD'VE INVENTED THE GENRE
What, first person to review this CD? I guess "TERRITORY" elicited more passionate reactions. Anyway, "Big Mama's Door" is the superior product of Mr. Hart's two phenomenal releases; simply because it is more cohesive, more of an actual album. "Territory" is my favorite, but it also has a few tracks I can't bear to listen to. This one has nary a clunker in the bunch, but it doesn't reach the off-beat, just-go-with-it heights of his sophomore offering. Who out there is Hart's equal is the acoustic/country tradition? I say no one. Long live Alvin Youngblood. ... Read more

Reviews (7)

Delbert - Live From Austin
To start with, I DON'T like country music. With that said, this CD rocks. I had to try a Delbert McClinton CD after listening to Imus drone on daily about Delbert McClinton and started out with this CD. I am particularly a fan of tight bands and they just don't get tighter than his. The twangy ones I can do without but overall this CD rates a 6 on a scale of 5. And if you get the chance to see him and his band live, well, don't miss it. Pay any money. You will not be diappointed.

McClinton Rocks Austin City Limits
For lovers of good clean rock and roll with a bluesy flair, this album is one of the best buys around. Backed up by a terrific band, including a fabulous horn section, McClinton runs through his own classics like "Givin' It Up For Your Love",and "Back To Louisiana" as well as covers like Otis Redding's "I've Got Dreams To Remember". McClinton's raunchy voice and energetic style prove that he sets the standard for live perfomances. The album's only drawback is that at less than 40 minutes in length, the party is over before you are ready for the fun to end. Nonetheless, it remains one of my favorite albums, bar none. An absolute must have for any rock and roll fan.

Excelent compilation of Delbert's best work
Although live, this is an excelent recording and I think that a live performance is the only way to hear Delbert at his best. I also have the Ultimate Collection CD, which it is not the Ultimate collection, it is missing Standing on Shaky ground and several other great tracks.

Energetic R&B/Soul & Blues
This is an outstanding set of soulful R&B and blues, powered by a great five-piece horn section. Delbert's vocals and harmonica playing are in fine form, as is the entire band. Among the many highlights are "Maybe Someday Baby", the funky "Standing on Shaky Ground" and "B Movie Boxcar Blues", "Let Me Be Your Lover" (featuring some great guitar), "Back to Louisiana", "You Are My Sunshine" (with a cool organ solo), and "Givin' It Up For Your Love". One of the few changes of pace in a very uptempo set is a nice version of Otis Redding's ballad, "I've Got Dreams to Remember". Nobody does this style of music any better than Delbert.

Superb horns sessions!
This is one of my favorites in my collection.The voice of Delbert is a great surprise for me.All the tracks seemed so familiar to my ears,and with the help of the team of horns,this "live"performance hits the top! For those sentimental bluesfans,rare moments of great ,joyfull music! ... Read more

Amazon.com essential recording

This guest-studded CD relaunched Buddy Guy's career and set him toward the pinnacle of contemporary blues. Despite turns from Jeff Beck, Eric Clapton, Mark Knopfler, and others, it's Guy who burns brightest--and loudest. He delivers roaring, exuberant performances of classic R&B ("Mustang Sally"), old-time blues ("Black Night"), and house rockers ("Where Is the Next One Coming From"). Most poignant, though, is his seven-minute instrumental "Rememberin' Stevie," which not only rekindles the fiery spirit of his own youth, but pays sensitive tribute to his late friend and admirer Stevie Ray Vaughan. This is the blueprint for Guy's current performing style. --Ted Drozdowski ... Read more

Reviews (31)

Ambassador of Blues
There are two giants that keep on promoting the lifestyle of the blues. The first is B.B. King. The other? Buddy Guy. Here is a man that knows the meaning of the blues. At times he was too poor to afford guitar strings, and used wire instead. How he has any pads left on his fingertips to play, I'll never know. But, he does play here, and it is very good.

There is no doubt that this is an excellent album with the first notes of the title track. Guy makes his guitar cry throughout his solos, and his voice is full of soul and pain. It doesn't slow down after that. He then turns around and does the John Hiatt cover of "Where Is the Next One Coming From" with Mark Knopfler and the Memphis Horns backing him up. Again, an A effort from the blues master. Jeff Beck appears on "Mustang Sally", and then teams up with Eric Clapton to provide additional licks on Louis Jordan's "Early In the Morning". This whole album is nothing but high-powered blues. The album culminates with the powerful "Rememberin' Stevie", a tribute to the late great guitar master, and Guy's dear friend. The tune is hauntingly beautiful and Guy bears his soul for all to hear.

This album is what the blues are about, solid guitar playing, strong vocals, and feeling. If you're a big blues guitar fan, this is a must have for your collection. You can't go wrong with it.

Chicago Blues Meets Memphis Soul
This is the one that put Buddy back on the blues map. With the help of several well-known friends, including Mark Knopfler, Jeff Beck, Eric Clapton (who once called him the greatest live blues guitarist), and the great Memphis Horns, Buddy burns on the more uptempo tunes like the soulful groove of "Where Is the Next One Coming From" & a definitive version of the classic "Mustang Sally". Buddy's gritty, passionate vocals are intense without being totally over-the top, & the background vocals are perfect. The slower tunes are not the old, tired, by-the-book standard slow blues, but are leisurely, rolling blues, focused as much on piano & horns as on Buddy's guitar. He closes things out with "Rememberin' Stevie", paying tribute to his own biggest fan.

Great comeback
Excellent production and mixing, crisp, clear sound, and a strong track list makes this one of Buddy Guy's strongest records, his best latter-day album alongside "Slippin' In".

The track list spans classic electric blues, Memphis soul, and, well, John Hiatt. Guy's cover of Hiatt's "Where Is The Next One Coming From" is okay, but doesn't really add anything new to the song, and we don't need another version of "Early In The Morning", especially not this bland one.
But Guy's eight-minute rendition of Eddie Boyd's classic "Five Long Years" is a delicious, smouldering slow blues, and he lays down a great "Mustang Sally" and a fine rendition of Big Jay McNeely's slow, mournful "There Is Something On Your Mind".

His expressive tenor voice suits the slow, tortured blues songs on this set very well, but Guy performs equally well on the powerful, swaggering title track and the mid-tempo "Too Broke To Spend The Night", two of his best self-penned songs for a long, long time. "Too Broke" in particular is strongly reminiscent of Guy's sizzling 60s recordings for Chess, and Buddy Guy's reading of Willie Dixon's "Let Me Love You Baby" is among the highlights as well.

This is a really fine album, deservingly winning Guy an Emmy in 1991. The sometimes erratic veteran plays some tremendous electric guitar, and the self-penned material shows that Buddy Guy's muse is not spent after all.
Definitely recommended.

Fails the test of time
I have owned this album for 12 years and it has not in general passed the test of time. Buddy Guy for me is generally too abrasive and not that great a guitarist. There are some worthwhile tracks such as Where is the next one coming from, Let me love you and particularly Rememberin' Stevie. However there are too few tracks to justify buying the album again.

finally.... buddy gets the recognition he deserves!
to a casual blues fan, buddy was living in relative obscurity till he released this cd in 1991. hardcore blues fans like myself already knew how great a singer/guitarist he was since he came on the scene back in the late 50's. then he came crashing thru with this cd! no longer would buddy guy be the best kept secret in the blues genre. his famous wild string bends are on display at the start of the cd on the title track, and throughout. his guitar playing on "too broke to spend the night" is incredible, showcasing blazing speed. his string bending technique is in full effect on "rememberin stevie", his tribute to the late stevie ray vaughan. the song starts slow and winds up gradually. just a beautiful instrumental track. other highlights include eddie boyd's often covered "five long years" and willie dixon's popular "let me love you baby". stevie ray also covered this song on his last cd before he died. i also enjoyed jeff beck's guitar work on "mustang sally". buddy's singing and playing are top-notch on this cd. no filler here. this cd started a run of successful work thru the 90's with silvertone records. it's amazing what he has accomplished here in his later years. thanks buddy for giving us all this great music to listen to. god bless! ... Read more

Reviews (2)

Rhythm & Groove - Roy Rogers
This was one of those purchases you often make hoping that the disk is as good as some of the other titles you have by a particular artist. I had not seen any reviews on this disk and until recently I didn't know it existed. What an oversight. I've been a Roy Rogers fan for awhile but I was unaware of this recording and was pleasently surprised by its content. From the opening track this disk cooks. There simply is not one throwaway on this disk and I highly reccommend its purchase to loyal fans and first time listeners as well.

snakelike new orleans groove
this disc has the juke joint sweat and the color of bourbon st. my favorite songs" built for comfort" and " vida's place" have the best groove for me. polyrhythems keep them moving like thimbles on a washboard."wrong number" has a great hook and great for getting things done on your "to do" list.all in all a great time will be had by all!! ... Read more

Reviews (17)

Life is full of mysteries
Life is full of mysteries. Janis Joplin becomes a musical icon. Tracy Nelson has always been something of an unknown. Yet Tracy possessed a far warmer, flexible, and expressive voice than Janis, which, as good as it was, always did pretty much the same thing.

Tracy Nelson fans are often jealous of Janis Joplin's legend. On numerous occasions I have put "Down So Low" on to play to unsuspecting and unitiated friends. I refuse to tell them who it is, and invariably they will ask by the end of the song, "Is that Janis Joplin?"

This album is marvelous testimony to just how good Tracy Nelson is. I do have a slight bone to pick with it. The title is a bit misleading: Mother Earth had many very, very good songs that featured other people singing lead than Tracy Nelson, and all of those songs were omitted.

I think there are several reasons one can point to for Tracy Nelson's failure to become as large a legend as Janis Joplin. One is pointed to by Al Kooper in the liner notes accompanying the CD: she isn't easy to categorize. Is she rock? Folk? Blues? Country? I bought my copy at Tower Records, and they keep the album in Folk. I would have put it in Rock, but anyone will have to acknowledge that she defies categories.

Another reason that Tracy Nelson has never been as widely acknowledged as she deserves is ironically because she did one song that was so stunning, so overwhelming, that all her other excellent work suffers by comparison. The song is, of course, "Down So Low." In my estimation, this song and Tracy's performance of it is one of the staggering achievements of the rock era. Greil Marcus once wrote that in this song Tracy Nelson goes to places that Janis Joplin only dreamed about. The song is so extraordinary that the album cover reads "The Best of Tracy Nelson/Mother Earth" followed by the words "Featuring Down So Low." And the entire text on the back of the CD does nothing but talk abou the song. In a way, this song destroyed her career, because it is such an amazing song and performance, that everything else in anyone's career is going to be a disappointment.

Let me try to get at the point another way. Aretha Franklin, John Lennon, Jagger/Richards, Bob Dylan. These folks belong to the highest pinnacle of rock and roll success. They produced an enormous amount of work that is the standard by which everything else in rock is measured. Other performers can be often excellent, but they really don't come up to that standard. Sheryl Crow is great, but she isn't Bob Dylan. Ever. But in "Down So Low," Tracy Nelson did a song that was so great that only occasionally have the greatest figures in the history of rock and roll done as well. Yet her other work is not up to the level of that song.

So, there are two reasons to get this album. One is to get familiar with one of the very greatest singers our country has produced in the last forty years. The other is to get your very own copy of one of the truly transcendant moments in the history of rock: "Down So Low."

I'm in love with Tracy
I had tracy nelson and mother earth about 6 different times back in the 60's and 70's Great studio musicians mikal bloomfield and al kooper{super sessions}. Green album on mercury label. But when I heard her belt out the song "Mother Earth" I would get \goose bumps when she sang we got to GO backto mother earth. So when I saw this best of album had that cut I was happy,cant wait to get it, and my goose bumps ! Ive always said she blew janice joplin out of the water! come to think of it I had no problem replacing living with the animals holding on to that one album was hard thought I was the only tracy fan out there? peace out

Not exactly Living with the Animals
Here is a lovely taste of Mother Earth, deservedly focusing on their terrific lead singer Tracy Nelson. A morsel worth having if only for the few tracks taken from their seminal "Living with the Animals" album, which should have been re-released on CD long ago. This is the work that catapulted Mother Earth into the forefront of folk/rock stardom ...

Essential Tracy Nelson
Back in the day, the Mother Earth album 'Living With the Animals' rarely left record player for more than a day - but it was somewhat a difficult record to listen to, because I had to keep jumping up to skip tracks. The album was schizophrenic in the extreme with a split personality that was sometimes Tracy Nelson country-gospel-influenced blues and the rest of the time so rather uninspired pop-rock by the band's guitarist. I loved, loved, loved the former, and felt rather ambivalent about the latter. This album contains only the former.

There is so much good material here I don't know where to begin. The album contains almost all the Tracy-led cuts from 'Living With the Animals' and that is worth the price of admission. The two cuts with Mike Bloomfield (Butterfield Blues Band, Super Sessions) guesting contain some of his very best pure blues playing. There are constants in the quality of Tracy's voice, and in the country-gospel-blues blend that shapes the sound of all the material. Also, there is much pleasure to be found in hearing the improvement and changes that time brought to her vocal and keyboard performances, since the album is reasonably chronological. Finally, the notes, by Al Kooper, are detailed and informative.

I thoroughly enjoy this compilation, listen to it all the time (again, 30 years later) and constantly astound friends who wonder how they could have overlooked such an impressive artist all this time

Good early stuff from Mother Earth, but not enough
Tracy Nelson has been churning albums out for three-plus decades now, and it's a shame that the high water mark of her career came so early with the sadly overlooked Mother Earth, whose Living With the Animals desperately needs to be released on CD. This CD has some cuts from Living With the Animals, and it'll do until that long-lost Mercury LP is finally released on CD by someone! With Mother Earth, Tracy was surrounded by such future Austin greats as "Toad" Andrews, blues legend Memphis Slim, Mark Naftalin, and others. Once she went solo, the wind seems to have gone out of her sails and the quality of her music deteriorated. She's made a bit of a comeback lately, but really the only reason to buy this CD is for the early Mother Earth cuts. ... Read more

Reviews (1)

Hip Hop 50's
This CD is fantastic. I was really surprised at the sound. I only paid 50 cents for this so I was not expecting much. I was wrong. This reminds me of Brian Seltzer (Stray Cats) only more raw. It is hard for me to classify it. I love blues and jazz so I can see it fitting in that category but it also belongs in rock. His voice and electric guitar skills are hynotizing. This CD is a keeper. It has both slower songs and jazzier renditions such as Cadillac Baby. You will not go wrong with this CD. If you want a good dance song then play The Boogie Twist Part II. ... Read more

Amazon.com

Though Odetta hasn't exactly been inactive, Blues Everywhere I Go is her first studio recording in 14 years. It's been worth the wait--this is an incredibly strong album, from one of the most gorgeous folk-blues voices ever. Odetta's voice has aged well, acquiring a depth of maturity without losing one whit of emotional expression. Among the album's highlights are "Oh Papa," a slow, bittersweet work of art, and a take on "Careless Love" that must rival the best versions of this often-covered song. What's frequently astonishing is how Odetta breathes new life into old material, giving it new relevance; this is especially evident on "TB Blues" and "Homeless Blues." Liner notes from blues writer Robert Gordon add a bit of history and interpretation to the material. --Genevieve Williams ... Read more

Reviews (7)

Odetta : Not just a Folk Singer!
The years have not diminished the powerful voice of the Great Odetta. I am often suprised how many people haven't even heard of her! She an American Treasure! This album features her with a superb back-up band and Odetta is as great singing the Blues as she is singing Folk. I have some of Odetta's live albums and I absolutely love how she can merge several songs into a "Suite" rather than a show biz medley. This is a different Odetta for me to hear and I am extremely pleased with this album. Whether she is recorded live or in the studio and whether she is singing folk or blues, Odetta is a truly great artist. I do recommend this album highly! One feels as if they are there in person. There is an intimate feeling to this Blues album which only adds to how fine it is. It got me snapping my fingers and moving to the music. Oh, Odetta is such a fine singer,so, so fine. ***** Five Stars for "Blues Everywhere I Go"!

Odetta's return
This Grammy nominated cd is amazing. Odetta's voice is still as powerful and unique as it ever was. Odetta is downright incredible on Dink's Blues and Blues Everywhere I Go. And evokes raw emotion on WPA Blues and You Aughta Know. I am very happy to see Odetta back with new material. She is one of best vocalists of all time and seems to carry her legendary status into the new millenium.

Absolutely fabulous.
I won't try to add to the superlatives that the other reviewers have written. This has rapidly become one of my favorite albums. I do have to say that I think the author of the liner notes missed the joke on "Can't Afford To Leave My Man."

Odetta is truly the Queen of American Folk Music
I had the distinct pleasure of hearing Odetta perform at my school. She has a warm and beautiful presence, and it comes through entirely in her wonderful voice. I don't love blues music, but I love Odetta! I very highly recommend this most recent collection of her songs.

You've gotta get this! It will blow you away.
I was browsing the culture section of the Utne Reader when I ran across a review of Odetta's newest in years--the review was entitled "15 More Minutes" and it raved about "Blues Everywhere I Go", so I went out and got it. Guess what? It's every bit deserving of Utne's rave review, Amazon.com's double 5-star rating, and my humble "It will blow you away". Odetta's is in fine, though at times, weary voice, but that suits certain tunes well--just how long and in how many voices can the call to better mankind be, without showing some weariness, I ask you? Poignant, indeed, are the cuts, "TB Blues" and "Oh Papa". Welcome back, Odetta. ... Read more

Amazon.com

The two-disc, 34-track Anthology could be subtitled "The Crossover Decades," for it covers the years when B.B. King (like his "Sweet Little Angel") spread his wings. Spanning the era 1962-1998, the set begins when King was a recording veteran whose renown was confined to the blues ghetto. Applying vocal grit and guitar sting to the dramatic call-and-response of his material, King won rock converts with his Live at the Regal album (represented here by two highlights), climbed the pop charts with the string-laced "The Thrill Is Gone," employed the jazz grooves of the Crusaders and the soul tinge of the Memphis Horns, and even invaded MTV with U2's "When Love Comes to Town." More scattershot survey than comprehensive career summary, this collection isn't as consistent as King's single-disc hits compilations or as expansive as his four-disc King of the Blues box, but it amply documents his staying power. --Don McLeese ... Read more

Reviews (4)

For Collectors Only
If you're a B. B. King collector then this compilation has 3 unique offerings that are noteworthy:

1. complete version of Gambler's Blues (90 seconds longer) than found on King of the Blues (4 CD box set). Due to some unfathomable screw-up, the 90 second guitar intro was cut off of the version on the Box Set!! The whole song is on this Anthology collection (also complete version is on Classic Live performances). It is a great live intro.

2. long version (7" version) of When Love Comes to Town is on this Anthology. A one minute shorter version is on the King of the Blues box set (recorded without the solo Bono verses). In my opinion, the longer version with Bono doing more singing is better.

3. This Anthology has a longer (by 4 minutes) version of Stormy Monday Blues than appears on the album Blues Summit. The Anthology album notes say that theirs is the unedited version but it is actually a different version. If you listen to the part where Albert Collins takes over the vocals, it is obvious that his singing is totally different than on the Blues Summit version. Also note that Stormy Monday Blues was recorded over a 5 day period indicating that multiple takes were done.

4½ stars - very thorough
This extensive anthology provides a very thorough overview of B.B. King's career after 1962. The tracks list is stronger than on the good-but-not-great "His Definitive Greatest Hits", and "The Anthology 1962-98" wisely omits completely inessental items like King's duets with U2 and Gary Moore.

The compilers lean heavily towards King's 60s and 70s material, with only a few later songs, and virtually all of his best 60s and 70s songs are here - songs like "Sneakin' Around", "Paying The Cost To Be The Boss", "Why I Sing The Blues", "Help The Poor", the crossover hit "The Thrill Is Gone", and King's version of Robert Nighthawk's "Sweet Little Angel".

His earlier Flair sides should have been here, too, though, and the fact that 50s classics like "3 O'Clock Blues", "Woke Up This Morning", "Please Love Me", and "Crying Won't Help You" are missing means that this compilation is not quite all that it could have been, and there are a few minor items here as well, like the duet with Robert Cray and the bland "There Must Be A Better World Somewhere" and "To Know You Is To Love You".
But get this one, the classic "Live At The Regal", and "Do The Boogie: B.B. King's Early Classics" from Virgin, and you'll be set. Only diehards will need anymore.

Excelent Sampler From the King of the Blues
For the novice fan on a budget, this is an excellent primer from one of the giants of modern electric blues. It completely duplicates 1998's single-disc Greatest Hits and expands it with an additional 18 songs--all of them gems. This collection begins with his first single for MCA "How Blue Can You Get" from 1963 through "I'll Survive" from 1998's Blues on the Bayou. [The only other track from the Nineties is "Playin' With My Friends," a duet with Robert Cray from Blues Summit. While recent albums like Riding with the King, Making Love Is Good for You and Let the Good Times Roll show that King is still a viable artist, you can't include everything on a two-disc set that covers 35 years!]

Short of buying the 4-disc box set King of the Blues, a more economical second purchase would be ACE Records excellent single-disc, 25-track The Best of the Kent Singles to give you a sampling of B.B. King's pre-1963 output.

If you're looking for confirmation that B.B. King is truly the King of the Blues, these 34 tracks should be adequate proof. HIGHLY RECOMMENDED

Good, easy listening
This CD blends all of the greatest of B.B. King onto something anyone can enjoy. I'd recommend it to anyone that enjoys any of B.B. Kings material and just wants the best of him. ... Read more